Ma FLD017 Practice Test

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10/22
Visual Art (17) Practice Test
TABLE OF CONTENTS
Introduction ......................................................................................................................................1
Purpose of the Practice Test .............................................................................................................1
Taking the Practice Test ...................................................................................................................1
Incorporating the Practice Test in Your Study Plan .........................................................................1
Visual Art Practice Test....................................................................................................................2
General Test Directions .............................................................................................................3
Multiple-Choice Answer Sheet..................................................................................................4
Multiple-Choice Questions ........................................................................................................5
Directions for the Open-Response Item Assignments .............................................................63
Open-Response Item Assignments and Response Sheets........................................................64
Practice Test Results ......................................................................................................................71
Practice Test Results Overview ...............................................................................................72
Multiple-Choice Question Answer Key Worksheet ................................................................73
Multiple-Choice Question Practice Test Evaluation Chart......................................................76
Open-Response Item Evaluation Information..........................................................................79
Open-Response Item Scoring Rubric, Sample Responses, and Analyses ...............................80
Practice Test Score Calculation ...............................................................................................91
Acknowledgments ..........................................................................................................................93
Readers should be advised that this practice test, including many of the excerpts
used herein, is protected by federal copyright law.
Test policies and materials, including but not limited to tests, item types, and item formats, are subject to change
at the discretion of the Massachusetts Department of Elementary and Secondary Education.
INTRODUCTION
This document is a printable version of the Massachusetts Tests for Educator Licensure® (MTEL®) Visual Art
(17) Online Practice Test. This practice test is a sample test consisting of 100 multiple-choice questions and
2 open-response item assignments.
To assist you in recording and evaluating your responses on the practice test, a Multiple-Choice Answer Sheet, an
Answer Key Worksheet, and an Evaluation Chart by test objective are included for the multiple-choice questions.
A blank Response Sheet, Evaluation Information, and Sample Responses and Analyses, as well as a Scoring
Rubric, are included for the open-response items. Lastly, there is a Practice Test Score Calculation worksheet.
PURPOSE OF THE PRACTICE TEST

The practice test is designed to provide an additional resource to help you effectively prepare for the MTEL
Visual Art (17) test. The primary purpose of the practice test is to help you become familiar with the structure
and content of the test. It is also intended to help you identify areas in which to focus your studies. Education
faculty and administrators of teacher preparation programs may also find this practice test useful as they help
students prepare for the official test.
TAKING THE PRACTICE TEST

In order to maximize the benefits of the practice test, it is recommended that you take this test under conditions
similar to the conditions under which the official MTEL tests are administered. Try to take the practice test in a
quiet atmosphere with few interruptions and limit yourself to the four-hour time period allotted for the official test
administration. You will find your results to be more useful if you refer to the answer key only after you have
completed the practice test.
INCORPORATING THE PRACTICE TEST IN YOUR STUDY PLAN

Although the primary means of preparing for the MTEL is your college education, adequate preparation prior to
taking or retaking the MTEL test is strongly recommended. How much preparation and study you need depends
on how comfortable and knowledgeable you are with the content of the test.
The first step in preparing to take the MTEL is to identify what information the test will address by reviewing the
objectives for your field. A complete, up-to-date list of the Test Objectives is included in the Test Information
Booklet for each test field. The test objectives are the core of the testing program and a helpful study tool.
Before taking or retaking the official test, focus your study time on those objectives for which you wish to
strengthen your knowledge.
This practice test may be used as one indicator of potential strengths and weaknesses in your knowledge of the
content on the official test. However, because of potential differences in format and difficulty between the
practice test and an official MTEL Visual Art (17) test, it is not possible to predict precisely how you might score
on an official MTEL Visual Art (17) test. Keep in mind that the subareas for which the test weighting is greatest
will receive emphasis on this test. Refer to the Test Information Booklet for additional information about how to
prepare for the test.
1
VISUAL ART
PRACTICE TEST
2
GENERAL TEST DIRECTIONS

This practice test consists of two sections: (1) a multiple-choice question section and (2) an open-response item
assignment section. Each multiple-choice question on the practice test has four answer choices. Read each
question carefully and choose the ONE best answer. Record each answer on the answer sheet provided.
Sample Question: 1. What is the capital of Massachusetts?

A. Worcester
B. New Bedford
C. Boston
D. Springfield
The correct answer to this question is C. You would indicate that on the answer sheet.
The open-response section of this practice test requires written responses. Directions for the open-response item
assignments appear immediately before those assignments.
You may work on the multiple-choice questions and open-response item assignments in any order that you
choose. You may wish to monitor how long it takes you to complete the practice test. When taking the actual
MTEL Visual Art (17) test, you will have one four-hour test session in which to complete the test.
3
MULTIPLE-CHOICE ANSWER SHEET
Question Your Question Your Question Your

Number Response Number Response Number Response
1 35 69
2 36 70
3 37 71
4 38 72
5 39 73
6 40 74
7 41 75
8 42 76
9 43 77
10 44 78
11 45 79
12 46 80
13 47 81
14 48 82
15 49 83
16 50 84
17 51 85
18 52 86
19 53 87
20 54 88
21 55 89
22 56 90
23 57 91
24 58 92
25 59 93
26 60 94
27 61 95
28 62 96
29 63 97
30 64 98
31 65 99
32 66 100
33 67
34 68
4
MULTIPLE-CHOICE QUESTIONS
1. Use the reproduction below of The Dynamism of an Automobile (1911) by Luigi Russolo to answer
the question that follows.
In this painting, the artist's use of

repetition of similar shapes across the
canvas creates a sense of:
A. movement.
B. form.
C. symmetrical balance.
D. emphasis.
5
2. Use the reproduction below of The Italian Woman (1916) by Henri Matisse to answer the question
that follows.
In this painting, the artist has disrupted space by:
A. covering the subject's shoulder with the background.
B. shading the right side of the subject's face.
C. depicting the subject from mid-thigh up.
D. depicting the subject's eyes looking downward.
Matisse, Henri (1869-1954) © 2022 Succession H. Matisse / Artists Rights Society (ARS), New York. The Italian Woman. 1916.
Oil on canvas. 45 15/16 x 35 1/4 inches (116.7 x 89.5 cm). By exchange, 1982. © Succession H. Matisse / ARS, NY. Location:
The Solomon R. Guggenheim Museum, New York, NY, U.S.A. Photo Credit: The Solomon R. Guggenheim Foundation / Art
Resource, NY.
6
3. Use the reproduction below of Tractored Out, Childress County, Texas (1939) by Dorothea Lange to
answer the question that follows.
Which of the following did the

photographer use when framing this
composition to place an emphasis on the
house?
A. the position of the clouds
B. the rows of soil
C. the slope of the horizon
D. the texture of the ground
7
4. Use the reproduction below of The Burial of the Count of Orgaz (1586) by El Greco to answer the
question that follows.
The artist's use of lighter values in the upper section of the painting and darker values in the lower section
has the effect of:
A. directing the viewer's attention diagonally across the picture plane.
B. providing a sense of unity to the work as a whole.
C. creating a sense of two separate and distinct environments.
D. giving the work an overall positive mood.
8
5. Use the reproduction below of the photograph Guy Peirera and Peter Fleming, Egypt (1937) by
Lee Miller to answer the question that follows.
In the photograph above, the photographer

uses perspective to explore:
A. form.
B. scale.
C. texture.
D. shape.
Miller, Lee. Guy Peirera and Peter Fleming, Egypt. Copyright © Lee Miller Archives, England 2009. All rights reserved.
www.leemiller.co.uk. Used with permission.
9
6. Use the reproduction below of a 7. Use the reproduction below of a

ceramic vessel (1000–800 BCE) to Sassanian ornament (sixth century CE)
answer the question that follows. to answer the question that follows.
Primarily which of the following features

gives this work a sense of asymmetrical
balance?
A. the narrow perimeter of the base
B. the negative interior spaces
C. the inclusion of an elongated spout The precise arrangement of circular

shapes in the ornament above is used
D. the contrast between light and dark primarily to achieve a sense of:
tones
A. harmony.
B. value.
C. texture.
D. volume.
10
8. Use the reproduction below of Carnival Athlete (1930) by Camille Bombois to answer the question
that follows.
In the work above, the artist used the line

of the athlete's arms to place an emphasis
on the:
A. circus tent.
B. surrounding crowd.
C. large barbell.
D. figure's torso.
Bombois, Camille (1883-1970) © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris. Carnival Athlete, c. 1930. Oil
on canvas, 130 x 89 cm. AM2810P. Location: Musee National d'Art Moderne, Centre Georges Pompidou, Paris, France. Photo
Credit: © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY.
11
9. Use the reproduction below of an untitled painting from the series Lyric Suite (1965) by Robert
Motherwell to answer the question that follows.
This painting emphasizes primarily

which of the following elements of
art or principles of design?
A. rough implied texture
B. geometric shapes
C. subtle value contrast
D. symmetrical balance
Motherwell, Robert. Untitled from the series Lyric Suite, 1965. (April–May 1965). Brush and ink on Japanese mulberry paper,
9 x 11 1/8" (23.1 x 28.3 cm) Gift of the artist in memory of Frank O'Hara (2380.1967) The Museum of Modern Art, New York,
NY, USA. Art copyright © Dedalus Foundation, Inc. / Licensed by VAGA, New York, NY. Photo Credit: The Museum of Modern
Art / Licensed by SCALA / Art Resource, NY.
12
10. Use the reproduction below of Village of Yo (1964) by Romare Bearden to answer the question that
follows.
The predominant element of art and

design used in this collage is:
A. space.
B. rhythm.
C. shape.
D. line.
Bearden, Romare. Village of Yo, ca. 1964. Collage, 9 x 12 1/4 in. (22.9 x 31.1 cm). Leonard C. Hanna, Jr., B.A. 1913, Fund.
2000.28.1 Yale University Art Gallery, New Haven, CT. Art copyright © Romare Bearden Foundation / Licensed by VAGA, New
York, NY. Photo copyright © Yale University Art Gallery / Art Resource, NY.
13
11. When photographing outdoors on a sunny 13. In ceramics, one way slip is used is to:
day, using which of the following lens
attachments will make distant objects A. release the ware from the wheel.
clearer and colors more vivid?
B. rinse clay off hands when
A. polarizing filter cleaning up.
B. star filter C. join unfired pieces of clay.
C. diffusion filter D. prevent the ware from sticking to

the kiln during firing.
D. shape filter
14. In gesture drawing, lines are drawn

12. Which of the following measures would rapidly for the purpose of:
best protect a charcoal drawing from being
smudged? A. recording fine details.
A. covering it with wax paper B. capturing the subject's essence.
B. shaking off any excess charcoal C. describing a definitive outline.
C. coating it with a fixative D. creating a sense of urgency.
D. placing it in sunlight for two days
14
15. The levels function in most image-editing 17. The term plein air refers to which of the
computer programs is useful for which of following painting techniques?
the following?
A. painting from life outdoors to
A. adjusting contrast capture natural light on a subject
B. editing layers individually B. establishing more than one light

source in a composition
C. increasing sharpness
C. applying multilayered glazes to a
D. undoing mistakes work to establish tonal values
D. using changes of hue, rather than

changes in value, to define light and
shadow
16. Which of the following safety measures
should be the first consideration when
making a block print?
A. wearing gloves 18. In printmaking, an image that is made by

gluing materials of various textures to a
B. using water-based ink surface, inking the surface, then pressing
the inked surface onto paper is referred
C. cutting away from the body to as a:
D. wearing a respirator A. serigraph.
B. collagraph.
C. planograph.
D. lithograph.
15
19. Which of the following materials would 21. The development of creativity is most
be most appropriate for a student who is likely to be facilitated in an environment
carving for the first time? in which:
A. alabaster A. individuals are encouraged to try

things, even if they are not sure they
B. limestone will succeed.
C. sandstone B. standards of quality have been

established in advance and
D. plaster communicated clearly.
C. more experienced individuals are

available to collaborate with less
experienced individuals.
20. Which of the following questions is most
likely to encourage creative exploration of D. media, materials, and workspaces
an unfamiliar medium? are maintained in an orderly fashion
at all times.
A. How do you think this medium is
intended to be used?
B. What have other artists done with

this medium? 22. Which of the following would best
facilitate students' creative exploration
C. What kind of creature can you make of emotions through art making?
out of this medium?
A. encouraging personal choices in
D. How many things can you think of selection of media and imagery
that you can do with this medium?
B. demonstrating proper use of
materials and methods
C. researching works and artists

associated with expressionism
D. discussing symbols commonly used

to represent emotional states
16
23. When studying a tree, an artist makes 25. Which of the following activities is most
several sketches, refining some details and likely to promote the development of
eliminating others until she feels she has creative thinking skills in elementary
captured the essence of the tree. This is an school students?
example of:
A. asking students to draw and label a
A. composition. picture of their family, including as
much detail as possible
B. abstraction.
B. collecting a variety of everyday
C. modeling. materials and having students create
a collage that includes a variety of
D. rendering. textures
C. providing a prompt, such as "If I

had three wishes . . .", and having
the students write and illustrate a
24. When engaging in brainstorming as part story in response
of a collaborative artistic effort, the
collaborators can best promote divergent D. showing students images of
thinking by: artworks and asking them to keep
a journal of their responses to the
A. requiring that all collaborators works
participate equally in the generation
of ideas.
B. encouraging immediate discussion

of each idea's viability.
C. assigning someone to record and

organize ideas as they are generated.
D. ruling out criticism of ideas by self

and others for a sustained period
of time.
17
26. Use the reproductions below of Yellow Bird (1919), Bird in Space (1923), and Bird in Space (1941) by
Constantin Brancusi to answer the question that follows.
Over many years of his career, the artist who created the works above explored the shape of a bird in
flight in a series of works, using different materials and refining the form. This is an example of how
creative thinking can be inspired by:
A. observation of changes in natural phenomena over time.
B. the study of images created of a subject by other artists.
C. ideas developed from one's own work.
D. interpretations of different subjects.
Brancusi, Constantin (1876-1957) © Succession Brancusi - All rights reserved (ARS) 2022. [left] Yellow Bird, 1919. Yellow
marble, limestone and oak base. Overall: 221.6cm (87 1/4in.). Bequest of Katherine S. Dreier. 1952.30.Ia-d. Yale University Art
Gallery. Photo Credit: Yale University Art Gallery / Art Resource, NY. [center] Bird in Space. 1923. Marble, (with base) H.
56-3/4, Diam. 6-1/2 in. (144.1 x 16.5 cm). Bequest of Florene M. Schoenborn, 1995 (1996.403.7ab). Location: The Metropolitan
Museum of Art, New York, NY, USA. Photo Credit: Image copyright © The Metropolitan Museum of Art. Image source: Art
Resource, NY. [right] Bird in Space, 1941. Polished bronze, h. 193.4 cm. Inv. AM4002-106. Photo: Adam Rzepka. Location:
Musee National d'Art Moderne, Centre Georges Pompidou, Paris. Photo Credit: © CNAC/MNAM/Dist. RMN-Grand Palais /
Art Resource, NY.
18
27. Use the reproduction below of Flute Player (date unknown) by Juan Garcia Veli to answer the
The creative process for this work was

most likely inspired by:
A. a particular subject the artist wanted

to portray.
B. images of the subject created in

other media.
C. a message the artist intended to

communicate.
D. the existing characteristics of the

raw materials.
19
28. For adolescents, creative thinking can best 30. According to Gardner's theory of artistic
be promoted in an environment in which: development, at age seven the focus of
children's art-making shifts toward a
A. a wide variety of media are focus on:
available for experimentation.
A. using art for personal expression.
B. adults are available to demonstrate
problem-solving approaches. B. exploring the qualities of various art
media.
C. students work in groups to critique
each other's work. C. the use of visual metaphor.
D. behavior and technical expectations D. achieving realistic depictions of

are clearly communicated. objects.
29. At what age range do children typically 31. In general, four and five year olds are best
begin producing X-ray drawings, in which motivated to participate in art-making
an object inside another object is visible activities when provided with motivational
within a cutaway? topics that:
A. 3–4 years old A. enable them to express something

about themselves.
B. 5–6 years old
B. are specific and highly structured.
C. 7–8 years old
C. require them to use their
D. 9–10 years old imagination.
D. are based on familiar stories.
20
32. Use the reproduction below of a child's drawing of a family to answer the question that follows.
This drawing is typical of children's art

at which of the following stages of
Lowenfeld's theory of artistic
development?
A. dawning realism
B. pseudorealistic
C. preschematic
D. schematic
21
33. Which of the following conditions must be 35. Use the drawing below to answer the
in place before a child can begin to create question that follows.
recognizable depictions of a particular
object or situation?
A. The child must have seen the object

or situation in artworks by other
individuals.
B. The child must have the skills to

create a naturalistic depiction of the
object or situation.
C. The child must have some

experience with the object or
situation.
D. The child must have made several

previous attempts to depict the A high school student has been drawing
object or situation. thumbnail sketches of a still life in prepa
ration for creating a larger work. After
selecting the thumbnail sketch of the
composition she likes best, she tells the
teacher that she feels that the bottle on the
34. A teacher has a middle school class look left is too close to the edge of the box.
at a wide variety of works of art and When the teacher asks how she can solve
discuss the following questions regarding that problem, the student suggests erasing
each work. the bottle and moving it within the compo
sition, selecting a different thumbnail
• Do you like this work? Why or why sketch, or erasing the sketch and starting
not? over. The teacher suggests that she try to
think of other solutions. Eventually, the
• Do you think the work is well student suggests that she can move the left
executed? Why or why not? edge of the box. This is an example of
how visual arts education contributes to
This activity will best help to develop the development of primarily which of the
students': following?
A. creative thinking skills.
A. aesthetic sensitivity
B. problem solving skills.
B. creative problem solving
C. critical thinking skills.
C. analytic abilities
D. decision making skills.
D. perceptual awareness
22
36. Use the reproduction below of the 37. Which of the following milestones in
Rubin vase (1915) by Edgar Rubin to artistic development indicates that a
answer the question that follows. child has reached the point in his or her
development when the two sides of the
brain are working in tandem?
A. The child is able to hold a crayon or

pencil with his or her fingers and
use it successfully to make marks.
B. When depicting human figures, the

child includes a torso that is separate
from the head.
C. The child is able to move his or her

Study of the image shown above, along hand across the midline of his or her
with discussion about the interaction of body when drawing or painting.
positive and negative space, will help
students develop: D. When depicting a scene, the child
includes a base line on which the
A. problem solving skills. objects in the picture rest.
B. aesthetic sensitivity.
C. perceptual awareness.
38. An adolescent's cultural environment will
D. analytic abilities. have the most significant influence on
which of the following aspects of his or
her art?
A. the complexity of artistic methods

used
B. the degree of abstraction applied to

a subject
C. the sequence of development of

technical skills
D. the symbols used to communicate

ideas
23
39. The constructivism movement of the 41. Which of the following best describes the
1920s reflected the values underlying primary function of art museums?
which of the following historical events?
A. facilitating the sale of art to
A. the Russian Revolution interested patrons
B. the prohibition of alcohol B. preserving and displaying important

works of art
C. the civil rights movement
C. providing educational programs for
D. the Protestant Reformation the community
D. providing a resource center for

emerging artists
40. In Western cultures, avant-garde art

movements created cultural change
primarily by:
42. Which of the following social concerns
A. pursuing artistic positions that has had the greatest influence on
challenged the status quo. architectural design in the U.S. since the
1990s?
B. providing artistic opportunities for
nonartists. A. sustainability
C. combining the resources of artists B. poverty

from many different disciplines.
C. diversity
D. making art approachable and
affordable for all people. D. equality
43. Which of the following technological

innovations led to a significant decline
in the demand for engraved images?
A. the camera
B. moveable type
C. the computer
D. screen printing
24
44. The Depression-era Federal Art Project 46. Which of the following best describes the
had a significant effect on U.S. visual art effect that colonialism had on Western
because: artists during the late nineteenth and early
twentieth centuries?
A. artists were encouraged to create
artworks that would challenge the A. Western artists rejected non-
viewing public. Western art as simple and
naturalistic.
B. artists were employed throughout
the country, resulting in greater B. Western artists traveled to colonized
popular awareness of art. states and learned new styles.
C. artists were commissioned to create C. Western artists were exposed to and

art for public buildings, which inspired by art from around the
changed their approach to scale. world.
D. artists developed a folk art D. Western artists expressed their

movement that communicated strong opposition to colonialism.
patriotism and optimism.
47. The romanticism movement in art

45. Artist Diego Rivera painted large murals developed as a reaction against:
on public buildings in Mexico for the
purpose of: A. the confrontational qualities of
modernism.
A. chronicling the major battles of the
Mexican War. B. the social and political themes of
medievalism.
B. celebrating Mexico's rebirth by
emulating the Renaissance wall and C. the emotional extremes of
ceiling frescoes he studied in Italy. expressionism.
C. decrying Mexico's development into D. the strict artistic ideals of

an industrialized nation. neoclassicism.
D. promoting a new national art based

on Mexican history and the socialist
spirit of the Mexican Revolution.
25
48. Use the reproduction below of a cave painting (about 20,000 BCE), artist unknown, to answer the
It is the common belief of scholars of

ancient art that this cave painting was
most likely created for the purpose of:
A. ornamenting and embellishing

living quarters.
B. documenting agricultural practices.
C. recording everyday surroundings.
D. preparing spiritually and practically

for an upcoming hunt.
26
49. Use the reproduction below of Crush the Gang of Four! (1977), artist unknown, to answer the
This work is an example of art that is

created primarily for the function of:
A. propaganda.
B. recording history.
C. storytelling.
D. social description.
27
50. Use the reproduction below of a mosque (691 CE) built by the Umayyad caliph Abd al-Malik to
The influence of early Byzantine

architecture on the design of this building
is best evidenced by the use of the:
A. colonnade.
B. dome.
C. buttress.
D. arcade.
28
51. Use the reproduction below, Two Warriors Fighting in a Landscape (1396) from a Persian
manuscript, artist unknown, to answer the question that follows.
The influence of Chinese paintings on thirteenth-century Middle Eastern artists is evidenced in this
work by the:
A. heavily decorative and patterned quality of the composition.
B. depiction of a dramatic, volatile event.
C. representation of animals as key figures in the work.
D. vertical pictorial composition.
29
52. Use the reproduction below of a coffee table (1930) designed by Ludwig Mies van der Rohe to
The design of this table is an example of

which of the following movements?
A. pop art
B. postmodernism
C. Bauhaus
D. neo-expressionism
Mies van der Rohe, Ludwig (1886-1969) © 2022 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Tugendhat
Coffee Table. Design date: 1930. Stainless steel and plate glass, overall: 18 x 40 x 40" (45.7 x 101.6 x 101.6 cm) .a (frame): h.
17 1/4 x w. 27 1/4 x d. 27 1/4" (43.8 x 69.2 x 69.2 cm), .b (glass top): 3/4 x 40 x 40" (1.9 x 101.6 x 101.6 cm). Phyllis B. Lambert
Fund. Location: The Museum of Modern Art, New York, NY, U.S.A. Photo Credit: Digital Image © The Museum of Modern Art/
Licensed by SCALA / Art Resource, NY.
30
53. Use the reproduction below of the painting The Money-lender (Banker) and His Wife (1514) by
Quinten Metsys to answer the question that follows.
This painting reflects which of the

following characteristics of the culture
of the Netherlands during the sixteenth
century?
A. growth of cities
B. gender inequality
C. class division
D. rise of mercantilism
31
54. Use the reproduction below of two porcelain jars to answer the question that follows.
These porcelain jars were created in which

of the following cultures?
A. Mexican
B. Chinese
C. Indian
D. Ethiopian
32
55. Use the reproductions below of Dolphin Fresco (1450–1400 BCE) and a detail of Spring Fresco
(1650 BCE) to answer the question that follows.
The frescoes shown above suggest that the

Minoan civilization in which they were
created placed a high value on:
A. celebrating the natural world.
B. influencing and controlling the

natural world.
C. ceremonial animal sacrifice.
D. the relationship between humans

and animals.
33
56. Use the reproduction below of Two Geese, One Swimming, One Diving with Camillia at the Left
(1857) to answer the question that follows.
This is an example of artwork created in

which of the following cultures?
A. Portuguese
B. Tahitian
C. Japanese
D. South African
34
57. Use the reproduction below of the painting A Philosopher Giving a Lecture on the Orrery (1766) by
Joseph Wright of Derby to answer the question that follows.
This painting is an example of the use of

art to address which of the following
themes?
A. innocence of youth
B. desire for knowledge
C. gender roles
D. children's place in society
35
58. Use the reproduction below, Landscape (mid-fifteenth century) by Bunsei, to answer the question
that follows.
Bunsei, Japanese, active mid-15th century. Landscape. Museum of Fine Arts, Boston. Photograph © 2009 Museum of Fine
Arts, Boston. Used with permission.
36
This work can be distinguished as being in

the tradition of Zen-influenced landscape
painting by the:
A. lack of a definitive horizon line.
B. use of ink as the primary medium.
C. tranquil depiction of the

environment.
D. use of a figure to demonstrate scale.
37
59. Jackson Pollock's paintings are most 61. Aboriginal bark painting was pre
characterized by: dominately used in the culture as a
means to:
A. continuous form line
A. commemorate important individuals
B. precise brushstrokes from the past.
C. linear perspective B. record the births and deaths within a

tribe.
D. gestural paint drippings
C. pass on cultural traditions and
myths.
D. communicate tribal boundaries.

60. Which of the following belief systems
has had a major influence on artwork
developed in India, China, and Japan?
A. Buddhism 62. Early Mesoamerican sculpture often

included figures bearing both human and
B. Islam animal features. Scholars believe that the
most likely reason for this combination of
C. Hinduism human and animal forms was to:
D. Confucianism A. pay homage to the natural world.
B. protect the possessor against

predators.
C. conjure powerful forces of the

supernatural.
D. assist the dying in the afterlife.
38
63. Use the reproduction below of Guitar Vendor (c. 1990), artist unknown, to answer the question that
follows.
The medium, style, and subject matter of

the work shown above distinguish it as a
product of:
A. Ecuador.
B. the West Indies.
C. Cambodia.
D. Polynesia.
39
64. Use the reproduction below of a self-portrait by Käthe Kollwitz to answer the question that follows.
Which of the following statements best describes the effect Kollwitz has achieved through her handling of
medium and subject matter?
A. Her tonal manipulations and choice of pose result in a drawing whose primary subject is the sitter's
state of mind.
B. Her emphasis on planes and linear elements creates an abstract image that seems emotionally
distant from the viewer.
C. Her subtle shading and modeling of the subject's face create a lifelike image that achieves an almost
photographic realism.
D. Her decision to fill the entire page with strongly contrasting lights and darks results in a work that is
less a portrait than a study in value.
Kollwitz, Käthe (1867-1945) © 2022 Artists Rights Society (ARS), New York, self-portrait. Charcoal drawing. Location:
Graphische Sammlung Albertina, Vienna, Austria. Photo Credit: Erich Lessing / Art Resource, NY.
40
65. Use the reproduction below of Winter (1954–1956) by Marc Chagall to answer the question that
follows.
As in much of Chagall's work, many of

the images and themes in this painting are
derived from the artist's:
A. memories of childhood in a Russian

village.
B. contact with the works of Salvador

Dalí and other surrealists.
C. sketches from nature in widely

diverse environments.
D. fascination with the theories of

Sigmund Freud.
Chagall, Marc (1887-1985) © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris. Winter; from the series of 42
gouaches to illustrate the book "Daphnis et Chloe" by Longus, bol. II, pl. 25. 1954-1956. Gouache on paper, 42 x 32 cm.
AM1988-398. Photo: Philippe Migeat. Location: Musee National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Photo Credit: © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY.
41
66. Use the reproduction below of a painting by Henry Moore to answer the question that follows.
This drawing is one of a series of works

done by Henry Moore to depict the
consequences of which of the following
events of the Second World War?
A. the attack on Pearl Harbor
B. the Normandy Invasion
C. the bombing of London
D. the occupation of Paris
42
67. Use the reproduction below of Bust of

a Woman: Study for Les Demoiselles
d'Avignon (1907) by Pablo Picasso to
This study represents a stage in the artist's

thinking as he:
A. experimented with styles generally

associated with commercial art.
B. acquired the basic technical skills

needed for a career in painting.
C. questioned the value of art in the

modern era.
D. explored alternatives to the

depiction of the figure in Western
artistic tradition.
Picasso, Pablo (1881-1973) © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Bust of a Woman: Study
for Desmoiselles D'Avignon, France, 1907, oil on canvas, .660m x .590m. Location: Musee National d'Art Moderne, Centre
Georges Pompidou, Paris. Photo Credit: © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY.
43
68. Use the reproduction below of The Two Fridas (c. 1930) by Frida Kahlo to answer the question that
follows.
Which of the following is a key source of the imagery in this work?
A. traditional painting conventions in the artist's country of origin
B. the artist's commitment to a socialist political philosophy
C. traditional beliefs in the impropriety of a woman's becoming a painter
D. the artist's sense of being torn between conflicting worlds
Kahlo, Frida (1907-54) / Mexican © 2022 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists
Rights Society (ARS), New York. The Two Fridas, 1939 (oil on canvas). Location: Museo de Arte Moderno, Mexico City,
Mexico. Photo credit: Luisa Ricciarini / Bridgeman Images.
44
69. Use the reproduction below of Portrait 70. Use the reproduction below of
of Benjamin Franklin (1778 or 1779) by A Monkey by Albrecht Dürer to answer
Anne-Marie Bocquet Filleul to answer the question that follows.
In this painting, the artist has portrayed the

subject as a man who was:
The form and content of this drawing
A. stern but forgiving. suggest that, in this work, the artist was
most interested in:
B. rough and uncivilized.
A. presenting an allegorical theme.
C. noble but unassuming.
B. making an ironic statement.
D. crafty and mischievous.
C. implying an ongoing narrative.
D. creating a naturalistic rendering.
45
71. Use the reproduction below of The Ray and Maria Stata Center at MIT (2004) by Frank Gehry to
The design of this building reflects the

architect's philosophy that:
A. a building's form should represent

a continuation of inherited cultural
traditions.
B. the form of a building should be

dictated primarily by the building's
intended function.
C. a building's form should reflect

the architect's understanding of the
aesthetic needs of its occupants.
D. the form of a building should be

free from the constraints of aesthetic
notions of the past.
46
72. Use the reproduction below of a portion of the Aztec Codex Féjerváry-Mayer (250 BCE–1000 CE) to
This work is part of a document that most

likely served which of the following
functions?
A. depicting symbols and ceremonies

associated with the ritual calendar
B. offering a critique of the strict

hierarchical structure of the society
C. relating the personal history of the

artist who created the piece
D. commemorating the deeds of a

legendary cultural hero
47
73. The popularity of woodblock prints in 74. A researcher asks a graphic artist to create
eighteenth- and nineteenth-century Japan a visual representation of some data. The
attests to which of the following roles of artist's representation will best fulfill its
visual art? primary role if it meets which of the
following criteria?
A. serving as effective propaganda for
the political elite A. It is eye-catching to a casual
observer.
B. aiding religious worshipers in their
devotional practices B. It makes full use of the latest design
tools.
C. sparking the public's interest in
current affairs C. It facilitates understanding of the
information.
D. providing enjoyment to common
people in their daily lives D. It has an innovative format and
layout.
48
75. Use the reproduction below of Jane 76. Use the reproduction below of What
Avril (late nineteenth century) by Henri Appropriation Has Given Me (1992) by
de Toulouse-Lautrec to answer the Enrique Chagoya to answer the
question that follows. question that follows.
The primary purpose of this work is best

This work was created primarily to described as:
serve which of the following roles in
everyday life? A. didactic.
A. public beautification B. commemorative.
B. commercial advertising C. satirical.
C. charitable appeal D. narrative.
D. political campaigning
49
77. Use the reproductions below of details from the Bayeux Tapestry (eleventh century) to answer the
The Bayeux Tapestry was created for the purpose of:
A. portraying a royal wedding procession.
B. depicting the months of the year and their associated tasks.
C. illustrating the events in a popular folktale.
D. recounting and celebrating a historic event.
50
78. Use the reproduction below of Union Generals (1861) by Matthew Brady to answer the question
that follows.
The uniforms worn in this photograph

provide an example of how clothing may
be designed to signify:
A. character.
B. affiliation.
C. taste.
D. personality.
51
79. Use the reproduction below of Cat Lamp

(1928) by Alexander Calder to answer
This ten-inch-tall sculpture was created

primarily to serve which of the following
roles of art in everyday life?
A. persuading
B. challenging
C. informing
D. entertaining
Calder, Alexander (1898-1976) © 2014 Calder Foundation, New York / Artists Rights Society (ARS), New York. Cat Lamp.
1928. Iron-wire and paper construction, 8 3/4 x 10 1/8 x 3 1/8". Gift of the artist. Location: The Museum of Modern Art, New
York, NY, U.S.A. Photo Credit: Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
52
80. Use the reproduction below of Money 81. Which of the following statements is most
Fool (1568) by Jost Amman to answer representative of a deconstructionist
the question that follows. approach to art criticism?
A. The only person who knows the true

meaning of a work is the artist him-
or herself; therefore, a work's only
authentic critic is its creator.
B. Each individual viewer or critic

defines the work; no definitive
interpretation is possible.
C. An artwork represents a solution

to multiple technical and aesthetic
problems; the critic's job is to pass
judgment on that solution.
D. The untrained viewer cannot

understand art; the role of the critic
is to teach the viewer how to see.
The primary purpose of this work is best

described as:
A. descriptive.
B. satirical.
C. cautionary.
D. anecdotal.
53
82. Use the reproductions below of two works by Mary Cassatt to answer the question that follows.
These two works are most different in

which of the following areas?
A. technical skill
B. mood
C. subject matter
D. style
54
83. In Western Europe in the eighteenth 85. Use the reproduction below of Eagle
century the power and influence of Warrior (1350–1521 CE) to answer the
preeminent art academies gave rise to question that follows.
which of the following general trends in
the visual arts?
A. stylistic conformity
B. a widespread decline in technical

mastery
C. indifference to public opinion
D. a wholesale rejection of the art of

the past
84. The stylistic continuity of Navajo sand

painting is best understood in light of the
fact that sand paintings:
A. are made from naturally occurring

materials in the local environment. The combination of eagle and human
imagery in this work suggests that the
B. traditionally serve a functional and artist most likely intended to depict the
ceremonial purpose in the culture. warrior as:
C. are created without the use of A. being attacked by an eagle.

specialized tools or equipment.
B. having the attributes of an eagle.
D. reflect the artistic influence of the
Pueblo peoples of the Southwest. C. being transported by an eagle.
D. having captured an eagle.
55
86. Use the reproduction below of Salzburg (1950) by Oskar Kokoschka to answer the question that
follows.
Which of the following terms best

describes the style of this work?
A. painterly
B. abstract
C. academic
D. linear
Kokoschka, Oskar (1886-1980) © 2022 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris,
Zürich. 1950. Linen. Inv. 11241. Location: Pinakothek der Moderne, Bayerische Staatsgemaeldesammlungen, M. Photo Credit:
bpk Bildagentur / Pinakothek der Moderne, Bayerische Staatsgemaeldesammlungen / Art Resource, NY.
56
87. Use the reproduction below of Carhenge (1987) by Jim Reinders to answer the question that
follows.
This sculpture suggests that one of the

artist's purposes was to:
A. evoke a sense of connection

between modern and prehistoric
forms.
B. satirize minimalist art of the mid-

twentieth century.
C. subordinate the art object to the

creative process itself.
D. assert the dominance of nature over

human activity.
57
88. Use the reproduction below of an untitled sculpture (1998–1999) by Robert Gober to answer the
The surreal quality of this sculpture is

primarily the result of the artist's use of:
A. negative and positive space.
B. industrial materials.
C. horizontal and diagonal lines.
D. juxtaposition of objects.
58
89. Which of the following is a characteristic 91. Which of the following artistic choices is
shared by modern dance and modernist most similar to a painter's use of light and
sculpture? dark values?
A. the synthesis of two opposing ideas A. an actor's use of dialogue
B. a focus on the finished product over B. a dancer's use of the feet

the creative process
C. a playwright's use of structure
C. the use of abstraction
D. a composer's use of dynamics
D. an adherence to firmly established
principles
92. In scene design for an expressionistic

theatrical production, visual images are
90. Musical compositions that highlight typically created for the purpose of:
repetition or the use of extended tones
are most closely related to which of the A. creating an environment grounded
following visual art movements? in lifelike detail.
A. minimalism B. separating the stage area from the

audience area.
B. outsider art
C. representing the emotional states of
C. fauvism the characters.
D. conceptual art D. focusing the audience's attention on

the performers.
59
93. Which of the following characteristics is 94. Which of the following elements of
a comic strip most likely to share with a classical Greek visual art was paralleled
film? by Greek theatre?
A. a focus on communicating a A. the idealization of form

narrative
B. the absence of narrative content
B. a tone that is consistently
lighthearted C. the focus on the nude body
C. the use of symbols to construct D. the depiction of solo figures

meaning
D. an emphasis on words as the

primary communication tool
95. The work of Euclid in the field of
mathematics is most related to which of
the following elements of painting and
drawing?
A. scale
B. color
C. value
D. rhythm
60
96. Jean-Jacques Rousseau advanced the idea 97. Understanding a given culture's artistic
that the path to real freedom was through interpretation of its natural and social
feeling rather than thinking, imagination environments would be most useful for
rather than calculation. Which of the which of the following disciplines?
following artistic movements was most
influenced by this philosophy? A. psychology
A. neoclassicism B. history
B. futurism C. biology
C. expressionism D. anthropology
D. romanticism
98. The juxtaposition of normal and dream

like elements found in the literary form of
magic realism is most similar to works
from which of the following artistic
movements?
A. art nouveau
B. impressionism
C. art deco
D. surrealism
61
99. A history teacher uses examples of early 100. When integrating art into a science unit,
Native American art during a lecture on which of the following activities would
Native American cultures. Using artworks best help students understand the concept
in this way is most likely to enhance of kinetics?
students' understanding of the:
A. sculpting a figure in a stance that
A. many customs and traditions of emulates movement, using a dowel
early Native American cultures. rod to support the figure's balance
B. preservation techniques used on B. producing a series of drawings

early Native American works of art. whose images, when placed beneath
one another and manipulated,
C. influence of early Native American appear to move
culture on modern U.S. traditions.
C. creating a mobile whose suspended
D. distinction between early Native forms are balanced in such a way to
American art and contemporary art. enact their movement
D. using an ink and brush technique to

design images of animals whose
movements are depicted by
directional lines
62
DIRECTIONS FOR THE OPEN-RESPONSE ITEM ASSIGNMENTS
This section of the test consists of two open-response item assignments that appear on the following pages. You
will be asked to prepare a written response of approximately 150–300 words (1–2 pages) for each assignment.
You should use your time to plan, write, review, and edit your response for each assignment.
For each assignment, read the topic and directions carefully before you begin to work. Think about how you will
organize your response. You may use any blank space in this test booklet to make notes, write an outline, or
otherwise prepare your response.
As a whole, your response to each assignment must demonstrate an understanding of the knowledge of the field.
In your response to each assignment, you are expected to demonstrate the depth of your understanding of the
subject area by applying your knowledge rather than by merely reciting factual information.
Your response to each assignment will be evaluated based on the following criteria.
• PURPOSE: the extent to which the response achieves the purpose of the assignment
• SUBJECT KNOWLEDGE: appropriateness and accuracy in the application of subject knowledge
• SUPPORT: quality and relevance of supporting evidence
• RATIONALE: soundness of argument and degree of understanding of the subject area
The open-response item assignments are intended to assess subject knowledge. Your responses must be
communicated clearly enough to permit valid judgment of the evaluation criteria by scorers. Your responses
should be written for an audience of educators in this field. The final version of each response should conform
to the conventions of edited American English. Your responses should be your original work, written in your
own words, and not copied or paraphrased from some other work.
Be sure to write about the assigned topics. Please write legibly. You may not use any reference materials during
the test. Remember to review your work and make any changes you think will improve your responses.
Write or print your response in the space provided following the assignment.
63
OPEN-RESPONSE ITEM ASSIGNMENT #1
Use the reproduction on the right of The Migration Gained in Momentum (1940–1941) by Jacob
Lawrence to complete the exercise that follows.
Using your knowledge of the visual arts, write an essay discussing this work. In your essay:
• analyze the idea or message you believe the artist is trying to communicate with this work; and
• identify two significant artistic choices (e.g., elements and principles of art and design, tools,
materials, processes, techniques) evident in this work that the artist used to convey the idea or
message.
[next page] Lawrence, Jacob (1917-2000) © 2022 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists
Rights Society (ARS), New York. The migration gained in momentum. 1940-41. Panel 18 from The Migration Series. Tempera
on gesso on composition board, 18 x 12" (45.7 x 30.5 cm). Gift of Mrs. David M. Levy. Location: The Museum of Modern Art,
New York, NY, U.S.A. Photo Credit: Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
64
OPEN-RESPONSE SHEET—ASSIGNMENT #1
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OPEN-RESPONSE ITEM ASSIGNMENT #2
Use the reproduction below of a mask made of wood and brass to complete the exercise that
follows.
Using your knowledge of the visual arts, write an essay discussing this work. In your essay:
• identify the artistic tradition or cultural context in which this work was produced; and
• describe the characteristics that distinguish this work as a product of the artistic tradition or cultural
context in which it was created.
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PRACTICE TEST RESULTS
71
PRACTICE TEST RESULTS OVERVIEW
The practice test provides valuable information regarding your preparedness for the MTEL Visual Art (17) test.
In this section, you will find information and tools to help you determine your preparedness on the various
sections of the test.
Multiple-Choice Questions
A Multiple-Choice Question Answer Key Worksheet is provided to assist you in evaluating your multiple-choice
responses. The worksheet contains five columns. The first column indicates the multiple-choice question
number, the second column indicates the objective to which the test question was written, and the third column
indicates the correct response. The remaining columns are for your use in calculating the number of multiple-
choice questions you answered correctly or incorrectly.
An Evaluation Chart for the multiple-choice questions is also provided to help you assess which content covered
by the test objectives may require additional study.
Open-Response Items
Evaluation Information, Sample Responses and Analyses, as well as a Scoring Rubric are provided for these
items. You may wish to refer to this information when evaluating your practice test responses.
Total Test
Practice Test Score Calculation information is provided to help you estimate your score on the practice test.
Although you cannot use this practice test to precisely predict how you might score on an official MTEL Visual
Art (17) test, you may be able to determine your degree of readiness to take an MTEL test at an operational
administration. No passing score has been determined for the practice test.
72
MULTIPLE-CHOICE QUESTION
ANSWER KEY WORKSHEET
Question Objective Correct Your Response
Number Number Response Correct? Incorrect?
1 0001 A
2 0001 A
3 0001 B
4 0001 C
5 0001 B
6 0001 C
7 0001 A
8 0001 C
9 0001 A
10 0001 C
11 0002 A
12 0002 C
13 0002 C
14 0002 B
15 0002 A
16 0002 C
17 0002 A
18 0002 B
19 0002 D
20 0003 D
21 0003 A
22 0003 A
23 0003 B
24 0003 D
25 0003 C
26 0003 C
27 0003 D
28 0003 A
29 0004 B
30 0004 D
31 0004 A
32 0004 C
33 0004 C
34 0004 C
73
ANSWER KEY WORKSHEET (continued)
35 0004 B
36 0004 C
37 0004 C
38 0004 D
39 0005 A
40 0005 A
41 0005 B
42 0005 A
43 0005 A
44 0005 B
45 0005 D
46 0005 C
47 0005 D
48 0005 D
49 0005 A
50 0005 B
51 0005 D
52 0006 C
53 0006 D
54 0006 B
55 0006 A
56 0006 C
57 0006 B
58 0006 C
59 0006 D
60 0006 A
61 0006 C
62 0006 C
63 0006 A
64 0007 A
65 0007 A
66 0007 C
67 0007 D
68 0007 D
74
ANSWER KEY WORKSHEET (continued)
69 0007 C
70 0007 D
71 0007 D
72 0008 A
73 0008 D
74 0008 C
75 0008 B
76 0008 C
77 0008 D
78 0008 B
79 0008 D
80 0008 C
81 0009 B
82 0009 D
83 0009 A
84 0009 B
85 0009 B
86 0009 A
87 0009 A
88 0009 D
89 0010 C
90 0010 A
91 0010 D
92 0010 C
93 0010 A
94 0010 A
95 0011 A
96 0011 D
97 0011 D
98 0011 D
99 0011 A
100 0011 C
Count the number of multiple-choice questions you answered correctly:
__________ of 100 multiple-choice questions
75
PRACTICE TEST EVALUATION CHART
In the evaluation chart that follows, the multiple-choice questions are arranged in numerical order and by test
objective. Check your responses against the correct responses provided to determine how many questions within
each objective you answered correctly.
Subarea I: Creating Works of Visual Art

Objective 0001: Understand the elements of art and principles of design and their
use in works of art.
1A_____ 2A_____ 3B_____ 4C_____ 5B_____ 6C_____ 7A_____ 8C_____

9A_____ 10C_____ _____/10
Objective 0002: Understand tools, materials, techniques, methods, processes, and technologies
employed in visual art and design.
11A_____ 12C_____ 13C_____ 14B_____ 15A_____ 16C_____ 17A_____

18B_____ 19D_____ _____/9
Objective 0003: Understand the thinking strategies employed in creating works of art.
20D_____ 21A_____ 22A_____ 23B_____ 24D_____ 25C_____ 26C_____

27D_____ 28A_____ _____/9
Objective 0004: Understand artistic development in children and adolescents.
29B_____ 30D_____ 31A_____ 32C_____ 33C_____ 34C_____ 35B_____

36C_____ 37C_____ 38D_____ _____/10
Subarea I (Objectives 0001–0004) Total _____/38
76
PRACTICE TEST EVALUATION CHART (continued)
Subarea II: Visual Art in Context

Objective 0005: Understand the connections among art, history, and culture.
39A_____ 40A_____ 41B_____ 42A_____ 43A_____ 44B_____ 45D_____

46C_____ 47D_____ 48D_____ 49A_____ 50B_____ 51D_____ _____/13
Objective 0006: Understand artworks from Africa, Asia, Central America, Europe, the Middle
East, North America, Oceania, and South America from ancient times through the present.
52C_____ 53D_____ 54B_____ 55A_____ 56C_____ 57B_____ 58C_____

59D_____ 60A_____ 61C_____ 62C_____ 63A_____ _____/12
Subarea II (Objectives 0005–0006) Total _____/25
Subarea III: Interpretation, Analysis, and Evaluation of Art

Objective 0007: Understand visual art as a form of communication.
64A_____ 65A_____ 66C_____ 67D_____ 68D_____ 69C_____ 70D_____

71D_____ _____/8
Objective 0008: Understand major functions, purposes, theories, and philosophies of art.
72A_____ 73D_____ 74C_____ 75B_____ 76C_____ 77D_____ 78B_____

79D_____ 80C_____ _____/9
Objective 0009: Understand the basic principles of art criticism: description, analysis,
interpretation, and evaluation of works of visual art.
81B_____ 82D_____ 83A_____ 84B_____ 85B_____ 86A_____ 87A_____

88D_____ _____/8
Subarea III (Objectives 0007–0009) Total _____/25
77
PRACTICE TEST EVALUATION CHART (continued)
Subarea IV: Visual Art and Other Disciplines

Objective 0010: Understand relationships between the visual arts and other art forms.
89C_____ 90A_____ 91D_____ 92C_____ 93A_____ 94A_____ _____/6
Objective 0011: Understand relationships between the visual arts and other disciplines
in the curriculum.
95A_____ 96D_____ 97D_____ 98D_____ 99A_____ 100C_____ _____/6
Subarea IV (Objectives 0010–0011) Total _____/12
78
OPEN-RESPONSE ITEM EVALUATION INFORMATION
How Open-Response Items Are Scored
Open-response items are scored through a process called focused holistic scoring. Scorers judge the overall
effectiveness of the response rather than individual aspects considered in isolation. Scorer judgments are based
on the quality of the response, not on length or neatness. Responses must be long enough to cover the topic
adequately and scorers must be able to read what is written.
How to Evaluate Your Practice Responses

On the following pages, you will find two "strong" and two "weak" sample responses. PLEASE DO NOT
REVIEW THE SAMPLE RESPONSES UNTIL AFTER YOU HAVE WRITTEN YOUR OWN RESPONSE.
When you do review the two "strong" and "weak" sample responses and analyses included here, please note the
following points:
3 For the purposes of the practice test, responses are identified as "strong" or "weak" rather than given a
score point of 1–4.
3 The responses identified as "strong" may contain flaws; however, these responses do demonstrate the
performance characteristics of a "strong response."
3 The two "strong" responses demonstrate the examinees' appropriate understanding and application of the
subject matter knowledge. However, these responses do not necessarily reflect the full range of "correct
answers" that would demonstrate an understanding of the subject matter.
3 The "Analysis" accompanying each "strong" and "weak" response discusses the main attributes of the
responses, but does not identify all flaws or strengths that may be present.
Compare your practice responses to the Sample Responses to determine whether your responses are more similar
to the strong or weak responses. Also review the Analyses on those pages and the Scoring Rubric to help you
better understand the characteristics of strong and weak responses. This evaluation will help you identify specific
problems or weaknesses in your practice responses. Further information on scoring can be found in the
Test Information Booklet and Faculty Guide at www.mtel.nesinc.com and at www.doe.mass.edu/mtel; select
"FAQ," then "After the Test."
79
OPEN-RESPONSE ITEM
SCORING RUBRIC, SAMPLE RESPONSES, AND ANALYSES
80
Massachusetts Tests for Educator Licensure®

SCORING RUBRIC FOR SUBJECT TESTS
Performance Characteristics:
Purpose The extent to which the response achieves the purpose of the assignment.
Subject Matter Knowledge Accuracy and appropriateness in the application of subject matter knowledge.
Support Quality and relevance of supporting details.
Rationale Soundness of argument and degree of understanding of the subject matter.
Scoring Scale:
Score
Score Point Description
Point
The "4" response reflects a thorough knowledge and understanding of the subject matter.
4 • The purpose of the assignment is fully achieved.
• There is a substantial, accurate, and appropriate application of subject matter knowledge.
• The supporting evidence is sound; there are high-quality, relevant examples.
• The response reflects an ably reasoned, comprehensive understanding of the topic.
The "3" response reflects an adequate knowledge and understanding of the subject matter.
3 • The purpose of the assignment is largely achieved.
• There is a generally accurate and appropriate application of subject matter knowledge.
• The supporting evidence is adequate; there are some acceptable, relevant examples.
• The response reflects an adequately reasoned understanding of the topic.
The "2" response reflects a limited knowledge and understanding of the subject matter.
2 • The purpose of the assignment is partially achieved.
• There is a limited, possibly inaccurate or inappropriate, application of subject matter knowledge.
• The supporting evidence is limited; there are few relevant examples.
• The response reflects a limited, poorly reasoned understanding of the topic.
The "1" response reflects a weak knowledge and understanding of the subject matter.
1 • The purpose of the assignment is not achieved.
• There is little or no appropriate or accurate application of subject matter knowledge.
• The supporting evidence, if present, is weak; there are few or no relevant examples.
• The response reflects little or no reasoning about or understanding of the topic.
The response is unrelated to the assigned topic, illegible, primarily in a language other than
U English, not of sufficient length to score, or merely a repetition of the assignment.
B There is no response to the assignment.
81
FIRST SAMPLE WEAK RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #1
The Migration Gained in Momentum is a great painting because it opens up a lot of questions
about why people migrate. First of all, what's the reason for this migration? Who are the
people in the migration? Where are they going? This artist is obviously trained, which means
that he must have made this painting simplistic on purpose. He used basic shapes and dull
colors in order to leave the painting open to interpretation.
One thing we do know is that it's a migration that happened on land. The painter is trying to
show the push and pull factors that compel people to leave their home country for another
country. The way the migrants are all hunched over and tired indicates that they have been
migrating on foot for a long time. Are they going to a better place? There is nothing here to
suggest that their destination is near or what their attitude is about it. The fact that they
have simple satchels slung over their shoulders shows us that they are poor, the most likely
reason why they are migrating. The fact that we can ask so many questions about the
painting is the point and what makes it so great. In asking these questions and trying to
answer them, we move beyond a simple aesthetic experience and begin to make an aesthetic
judgment.
ANALYSIS FOR FIRST WEAK RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #1
This is an example of a weak response because it is characterized by the following:
Purpose: The purpose of the assignment is generally not fulfilled. The candidate offers two somewhat
conflicting suggestions about what the artist is trying to achieve: that the purpose of the painting is to elicit
questions about migration, but also to show the reasons people leave one country for another. There is
insufficient analysis of artistic choices made to convey the proposed message(s).
Subject Matter Knowledge: The ability to analyze artistic messages and discuss artistic choices is limited.
Working from the shaky premise that the artist's point is to create a painting that elicits questions from the viewer
and/or to explore the reasons behind migrations, the candidate inadequately considers the artist's use of shape and
color. For example, the candidate correctly identifies that the shapes in the painting are "basic," but makes the
ineffective suggestion that the artist used such shapes for the purpose of opening the painting up to interpretation.
Additionally, the candidate notes that the migrants are "hunched over and tired," but the overriding sense of the
two groups is that they are moving purposefully.
Support: The response consists mainly of conjecture and sample questions the painting is supposed to elicit.
There are few examples that link the argument specifically to the painting. Statements are made without evidence
to back them up; there is no support, for instance, for the statement that the artist "purposely" uses basic shapes
and dull colors, nor is there discussion of what those shapes and colors are, how they work in the painting, etc. or
how their use "leaves the painting open to interpretation."
Rationale: The superficiality of the response (it is a "great" painting because it gets viewers to ask questions)
betrays a limited understanding of the subject matter. The response often loses focus and makes inaccurate or
insubstantial evaluations, leading to poor overall reasoning.
82
SECOND SAMPLE WEAK RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #1
The artist's intent with this painting was to convey the idea that life is often monotonous and
people are more or less the same, no matter where they come from or where they move to.
Several artistic choices have been used to illustrate this.
The people themselves are the subject of this painting. They are portrayed with basically the
same triangular shapes and they're all trudging in the same direction, which underscores the
idea that life is monotonous, that human beings are basically the same, and that we all end up
in the same place. Sure, the artist seems to be saying, the migrants are gaining momentum
but they're migrating to a place where nothing will change. It's a depressing theme in this
sense. But the similarity of the two groups of figures and their eventual meeting place also
suggests that we're in it together, in good times and in bad. This struggle between individual
free will and the greater good is a classic theme, and it's brilliantly displayed in this painting.
Another significant artistic choice evident in this work used to convey the theme of monotony
is the use of color. Unlike the Impressionists, who used bright colors to highlight pleasant scenes
of nature, the colors here are dull browns and oranges. It is as if the colors are as exhausted
as the migrants themselves.
ANALYSIS FOR SECOND WEAK RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #1
Purpose: The purpose of the assignment is partially achieved. The candidate posits that the artist intended to
express the idea that life is "monotonous and people are more or less the same," and discusses how the use of
shape and color reflects this. Due to some inaccuracies and lack of support, the response remains inadequate
overall.
Subject Matter Knowledge: The response exhibits a mixture of appropriate and inappropriate subject matter
knowledge. The candidate accurately points out the repetition of a limited number of shapes and mostly subdued
colors, but fails to note how these colors and shapes stand out against the even more monotone background.
While the painting does depict a sense of monotony in some ways, the feeling of purpose and action conveyed
through the figures' forward-leaning postures and long strides is an important aspect that should not be left out of
an analysis of shape.
Support: Although there are some relevant examples that support the candidate's arguments, the response could
benefit from more elaboration in several places. There is no effective development of the assertions that the artist
"seems to be saying" that momentum is irrelevant because all destinations will be the same, that human beings are
always a cohesive group despite varying circumstances, or that the painting deals with individual vs. group well
being.
Rationale: The response shows gaps in reasoning that indicate a limited understanding of the subject matter.
The bold statement about the painting depicting a struggle between individual will and the common good is not
logically borne out by the candidate's analysis of the work.
83
FIRST SAMPLE STRONG RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #1
In this painting, Lawrence combines the image of masses of people coming together with a
strong sense of movement to depict the momentum mentioned in the title.
The painting uses implied line to represent the migrants' physical move in an upward direction.
The group of figures that extend from the bottom of the composition diagonally up toward the
top right are the most prominent visually. These figures are depicted from behind (moving
away from the viewer) and there is a repetition of dynamic poses: most figures lean obviously
forward with right legs striding purposefully ahead. Their opaque shapes cut against the
horizontal brushstrokes that depict the terrain. The strong, stark roots and branches of the
tree in the lower left point in the same direction in which they are traveling, reinforcing the
sense of upward movement.
The group of travelers in the upper left corner is obviously connected to the group in the
foreground. They have the same striding postures and are aligned with the pointing tree and
the horizontal landscape in such a way that it is obvious to the viewer that the two groups will
converge and continue moving upward together. Lawrence’s use of the same colors—orange,
yellow, and green—and angled shapes in both groups emphasizes the idea that the migrants are
unified. The visual commonalities between the two groups suggest that the act of migration,
the experience itself, is shared by many who have similar goals and are heading in a similar
direction, literally and figuratively. As a group, they are moving away from the past and “up” to
(perhaps) a better future. The momentum depicted here suggests hope on the part of the
migrants.
84
ANALYSIS FOR FIRST STRONG RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #1
This is an example of a strong response because it is characterized by the following:
Purpose: The response fulfills the purpose of the assignment by identifying a main idea behind the work (to
show a commonality of experience that propels the migrants in a specific direction) and detailing two ways the
artist conveys a sense of momentum: the use of elements of art (implied line and color) and principles of design
(movement and repetition).
Subject Matter Knowledge: Subject matter knowledge is substantial and appropriate. The candidate selects
themes for discussion that are central to this work: groups of similar people moving en masse in a unified
direction. There is a detailed analysis of the techniques Lawrence uses to convey the selected theme (relative
placement of the painting's various elements, repetition of shapes and colors). Terminology specific to visual art
is used accurately and in a way that is relevant to the work and assignment (opacity, foreground).
Support: The response is strengthened by the detailed description of the painting's compositional elements. The
candidate gives specifics that support broader statements: instead of just alluding to dynamic poses, the candidate
offers further information about what makes the poses dynamic (the legs striding forward). Also, implied line is
mentioned as a way Lawrence creates the feeling of movement, followed by examples that show how the implied
line is effected (contrasting brushstrokes, different images pointing in a similar direction, the implication of two
groups converging).
Rationale: The response is easy to follow and its reasoning is sound. The candidate clearly states the idea(s) the
artist is trying to communicate and provides both relevant supporting evidence and an analysis of artistic choices
that shows significant depth of understanding. The association of upward movement with a sense of hope is a
valid interpretation.
85
SECOND SAMPLE STRONG RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #1
This is a narrative painting. The title refers to the mass migration of African American
families from the South to the North in the early decades of the twentieth century. The
artist's intent is to tell one part of this significant piece of history in a clear and compelling
way.
The migrants are represented as simplified shapes in flat blocks of distinct colors. The artistic
focus is not on draftsmanship or naturalistic detail but on creating an image that can be read
as perhaps one scene or chapter in the larger narrative of the migration. This pictorial
approach--incorporating simplified shapes and flat, distinct colors--is often seen in folk art.
And, like folk art, the shapes and colors help to communicate the story in a direct and engaging
way.
To capture the historical significance of the event and to convey a sense of the magnitude of
it, Lawrence situates the viewer higher than ground level to provide a good view of the scene
but not so high as to remove the viewer from the immediacy of the experience. The viewer is
close enough to the figures, then, to feel the momentum referred to in the title but far enough
away to get a sense of the scope of the migration, to see the figures as two groups coming
from different geographical places but moving more or less in the same direction. Additionally,
the two groups of figures emerge from the edges of the composition, creating a visual sense
that there are many more groups outside the picture frame, and they are all advancing north.
ANALYSIS FOR SECOND STRONG RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #1
Purpose: The purpose of the assignment is fully achieved. The candidate notes that the narrative painting is
intended to be clear and direct in "telling one part of this significant piece of history." The candidate identifies
significant choices the artist made to tell the story, such as the use of shape and space, texture and contrast.
Subject Matter Knowledge: The candidate's understanding of the subject is evident in the identification of the
type of painting (narrative), and analysis of two choices the artist made to tell the story.
Support: The response is strengthened by the quality of the supporting details that are provided. To support the
idea that the painting aims to tell a clear, direct, and engaging story, for example, the candidate points out that the
painting's style is similar to the style of many folk art paintings that also tend to be direct and engaging.
Rationale: Each part of the response is clear, accurate, logical, and easy to follow. The candidate clearly states
the idea the artist is trying to communicate, and provides supporting evidence based on a close analysis of three
significant artistic choices—the use of flat, simplified shapes, the use of viewer perspective, and the use of
pictorial space.
86
FIRST SAMPLE WEAK RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #2
This mask comes from Africa. The most distinguishing characteristic of this mask that
identifies it with Africa is the depiction of a headdress. Headdresses like this were used to
intimidate enemies. The scars on the sides of the mouth and the eyes would have also been
intimidating. The mask, therefore, is a warrior's mask. Warrior's masks are common in
African cultures. In addition to intimidation, the mask would have been used for protection in
battle. For example, the two feathers that project from the chin of the mask would have
protected the throat.
The mask could also be used for ritual purposes in which the wearer's ancestor spirit could be
summoned in a ritual dance with other members of the tribe. In this usage, the headdress is
an homage to the natural world and it represents a deep spiritual connection with the natural
world.
ANALYSIS FOR FIRST WEAK RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #2
Purpose: The purpose of the assignment is partially achieved. The candidate correctly identifies the mask
as coming from Africa and makes some statements that are generally accurate, but there are many
misunderstandings in the discussion of the characteristics that tie this piece to the African cultural context.
Subject Matter Knowledge: The response indicates limited subject matter knowledge. The statement that the
mask could be used in rituals is on track. The more strongly expressed interpretation of this piece as a warrior
mask is less likely, especially in light of the fact that heavy-lidded eyes and small mouths without teeth—both
features of this mask—are often associated with peace and tranquility in African culture.
Support: The candidate attempts to offer relevant examples to support ideas but often includes inappropriate or
inaccurate explanations of these examples. For instance, the response correctly identifies the scarification
represented on the mask but incorrectly identifies the purpose of the scarification.
Rationale: Assertions are sometimes made that are too general to be helpful ("Warriors' masks are common in
African cultures."). There are also inaccurate statements: "the most distinguishing characteristic of this mask that
identifies it with Africa is the depiction of a headdress." Headdresses are not so common in the African face mask
tradition that this could be seen as a compelling argument. In addition, many West African cultures depicted
elaborate hairstyles to honor their ancestors, so there is little support for the idea that the feature pointed out in the
response represents a martial headdress meant to intimidate enemies.
87
SECOND SAMPLE WEAK RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #2
This mask is of African origin. More specifically, it is a product of the Yoruba culture in Nigeria.
Ife, in the western part of Nigeria, was thought to be the center of the Yoruba culture when
it flourished during the 11th and 12th centuries. At that time, Yoruba sculptors and mask makers
developed a highly naturalistic style not previously seen in West Africa. That kind of style is
evident in this mask. The facial features are lifelike and sensitively modeled with subtle
transitions from feature to feature. This mask would have been worn by one of the oni, a
divine king and ruler of the Yoruba people. Another characteristic that distinguishes this mask
as a product of the Yoruba culture is its smooth and shiny texture, which again highlights the
naturalism of the piece.
ANALYSIS FOR SECOND WEAK RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #2
Purpose: The purpose of the assignment is partially achieved. The candidate correctly states that the mask is of
African origin. However, there are many inaccuracies in the interpretation of the mask's characteristics, which
lead to a contextualization of the mask within the wrong specific African culture.
Subject Matter Knowledge: While the candidate makes many accurate statements regarding artistic traditions in
the Yoruba culture, the information is not appropriate in reference to the mask featured in the assignment. The
candidate points to characteristics of Yoruba artworks, such as naturalism, that aren't evident in the more abstract,
stylized Baule mask of West Africa.
Support: Some supporting details in this response, for instance, the references to lifelike facial features, sensitive
modeling, and the smooth, shiny texture contributing to the mask's naturalism, are inaccurate. Other details, such
as specifics about Yoruba culture, are irrelevant. Both of these problems contribute to the inadequacy of this
response.
Rationale: The reasoning in the response is hampered by the inaccurate interpretation of the mask's features.
There is an insufficient degree of subject matter knowledge about this particular artistic tradition.
88
FIRST SAMPLE STRONG RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #2
African art is not easy to characterize because the country is so large and culturally diverse.
While the continent’s art reflects that diversity, there are several broad characteristics that
can be attributed to African art. Some of these characteristics are evident in this mask.
The symmetrical balance of this mask strongly suggests that it is of African origin. Elements
on one half of the mask are mirrored in the other half in a neat compositional division. This
division not only balances visual weight but creates a powerful sense of rhythm and harmony.
Abstraction also identifies this mask as African. For example, the nose is much longer and
narrower than an actual human nose. The heavy-lidded eyes, which are characteristic of masks
from some Ivory Coast cultures, are not realistically portrayed either. Though there are
notable examples of naturalistic representation in African art, such as in the portrait
sculptures of kings in the Yoruba culture of Nigeria, African artists often represent an abstract
idea or the essence of their subject matter.
Finally, the two materials--wood and brass--are commonly used in the creation of West
African masks.
ANALYSIS FOR FIRST STRONG RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #2
Purpose: The candidate fulfills the purpose of the assignment by identifying the cultural context in which the
mask was produced—Africa—and describing characteristics that distinguish it as a product of Africa—the artist's
use of balance, abstraction, and materials.
Subject Matter Knowledge: The candidate provides an accurate and appropriate application of subject matter
knowledge. For example, the candidate accurately notes that abstraction and symmetrical balance are
characteristics of African art in general. The response also indicates some more specific knowledge of artistic
traditions in different regions of Africa.
Support: This response uses both explication and specific details about the featured mask to support its
assertions. The comparison to the naturalistic style of another African culture is a particularly effective method of
displaying appropriate subject matter knowledge.
Rationale: The response is well reasoned. It consists of accurate statements backed up by sound support,
thereby reflecting a degree of subject matter knowledge appropriate to the assignment.
89
SECOND SAMPLE STRONG RESPONSE FOR OPEN-RESPONSE

ITEM ASSIGNMENT #2
African masks, which have been made for centuries, have a wide number of uses, depending on
the specific culture in which they are created. Most masks are used for ceremonial or ritual
purposes and are thought to carry great spiritual power.
This mask features two broad characteristics of African art: stylization and abstraction. The
abstract features, such as the long, skinny nose, were most likely intended to idealize a specific,
known person. Scholars have revealed that some African masks honor the persons for which
they were created. Whatever its purpose, this mask exemplifies the abstraction and strong
formal qualities that so profoundly influenced Western artists such as Pablo Picasso and
Amedeo Modigliani, who incorporated such qualities into their work.
The highly developed wood and metal crafting skills evident in this mask as well as the lines
around the mouth and the eyes that are probably meant to represent scarification further
identify this mask as coming from an African culture, most likely a culture of West Africa.
ANALYSIS FOR SECOND STRONG RESPONSE TO OPEN-RESPONSE

ITEM ASSIGNMENT #2
Purpose: The purpose of the assignment is fully achieved. The candidate reasons that the mask is "most likely"
West African in origin and accurately describes the characteristics that distinguish it as such.
Subject Matter Knowledge: The candidate's application of subject matter knowledge is accurate and
appropriate. Some generalizations about the possible uses of masks in African culture are offered and there is a
strong discussion of how abstraction and stylization are displayed in this mask, their origins in African culture,
and their influence on other cultures. The candidate is able to contextualize the mask even more specifically by
displaying accurate knowledge of artistic traditions in Western Africa.
Support: The response uses specific details to support its arguments. Referencing the long, skinny nose shows
strong understanding of what is meant by stylization, and the mention of the lines around the mouth and eyes
strengthen the connection to a culture where scarification is practiced. Knowledge of the influence of African art
on Modigliani's and Picasso's work provides sound evidence of a strong understanding of this tradition.
Rationale: The response provides a good balance of generalizations and specifics that work together to show
comprehensive and broad understanding of the topic.
90
PRACTICE TEST SCORE CALCULATION
The practice test score calculation is provided so that you may better gauge your performance and degree of
readiness to take an MTEL test at an operational administration. Although the results of this practice test may be
used as one indicator of potential strengths and weaknesses in your knowledge of the content on the official test, it
is not possible to predict precisely how you might score on an official MTEL test.
The Sample Responses and Analyses for the open-response items may help you determine whether your
responses are more similar to the strong or weak samples. The Scoring Rubric can also assist in estimating a
score for your open responses. You may also wish to ask a mentor or teacher to help evaluate your responses to
the open-response questions prior to calculating your total estimated score.
How to Calculate Your Practice Test Score

Review the directions in the sample below and then use the blank practice test score calculation worksheet on the
following page to calculate your estimated score.
SAMPLE
Multiple-Choice Section
Enter the total number of multiple-choice questions you answered correctly: 77
Use Table 1 below to convert that number to the score and write your score in Box A: A: 194
Open-Response Section
Enter the number of points (1 to 4) for your first open-response question: 2
Enter the number of points (1 to 4) for your second open-response question: 3

======
Add those two numbers (Number of open-response question points): 5
Use Table 2 below to convert that number to the score and write your score in Box B: B: 48
Total Practice Test Score (Estimated MTEL Score)
Add the numbers in Boxes A and B for an estimate of your MTEL score: A+B= 242
91
Practice Test Score Calculation Worksheet: Visual Art
Table 1: Table 2:
Number of Estimated Number of Estimated Number of Estimated
Multiple-Choice MTEL Multiple-Choice MTEL Open-Response MTEL
Questions Correct Score Questions Correct Score Question Points Score
0 to 25 80 61 to 65 163 2 36
26 to 30 90 66 to 70 173 3 40
31 to 35 100 71 to 75 184 4 44
36 to 40 111 76 to 80 194 5 48
41 to 45 121 81 to 85 205 6 52
46 to 50 131 86 to 90 215 7 56
51 to 55 142 91 to 95 225 8 60
56 to 60 152 96 to 100 236
Print the form below to calculate your estimated practice test score.
Multiple-Choice Section
Enter the total number of multiple-choice questions you answered correctly:
Use Table 1 above to convert that number to the score and write your score in Box A: A:
Open-Response Section
Enter the number of points (1 to 4) for your first open-response question:
Enter the number of points (1 to 4) for your second open-response question:

======
Add those two numbers (Number of open-response question points):
Use Table 2 above to convert that number to the score and write your score in Box B: B:
Total Practice Test Score (Estimated MTEL Score)
Add the numbers in Boxes A and B for an estimate of your MTEL score: A+B=
92
ACKNOWLEDGMENTS
Page
5 Russolo, Luigi (1885-1947) / Italian. The Dynamism of an Automobile, 1911 (oil on canvas).
Location: Musée National d'Art Moderne, Centre Pompidou, Paris, France. Photo credit: © Peter
Willi / Bridgeman Images.
6 Matisse, Henri (1869-1954) © 2022 Succession H. Matisse / Artists Rights Society (ARS), New
York. The Italian Woman. 1916. Oil on canvas. 45 15/16 x 35 1/4 inches (116.7 x 89.5 cm). By
exchange, 1982. © Succession H. Matisse / ARS, NY. Location: The Solomon R. Guggenheim
Museum, New York, NY, U.S.A. Photo Credit: The Solomon R. Guggenheim Foundation / Art
Resource, NY.
7 Lange, Dorothea. American, 1895–1965. Tractored Out-Childress Co., Texas. June 1938.
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of
Paul S. Taylor.
8 Greco, El (1541–1614). The burial of the Count of Orgaz, 1586–1588. Canvas, 460 x 360 cm.
S. Tome, Toldeo, Spain. Photo Credit: Erich Lessing / Art Resource, NY.
9 Miller, Lee. Guy Peirera and Peter Fleming, Egypt. Copyright © Lee Miller Archives, England
2009. All rights reserved. www.leemiller.co.uk. Used with permission.
10 [left] Unknown artist. Painted vessel with bridge-spout. Early Iron Age, about 1000–800 BCE.
Probably from Tepe Sialk, central Iran. H. 19.4 cm. Inv. AN 129072. British Museum, London,
Great Britain. © The Trustees of the British Museum / Art Resource, NY. Used with permission.
[right] Unknown Artist. Sassanian King Chosroe I on his throne. Chosroe Cup, with central
medallion. Gold, rock crystal, and garnets. Cabinet des Medailles, Bibliotheque Nationale, Paris,
France. Photo Credit: Erich Lessing / Art Resource, NY.
11 Bombois, Camille (1883-1970) © 2022 Artists Rights Society (ARS), New York / ADAGP,
Paris. Carnival Athlete, c. 1930. Oil on canvas, 130 x 89 cm. AM2810P. Location: Musee
National d'Art Moderne, Centre Georges Pompidou, Paris, France. Photo Credit: ©
CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY.
12 Motherwell, Robert. Untitled from the series Lyric Suite, 1965. (April–May 1965). Brush and
ink on Japanese mulberry paper, 9 x 11 1/8" (23.1 x 28.3 cm) Gift of the artist in memory of
Frank O'Hara (2380.1967) The Museum of Modern Art, New York, NY, USA. Art copyright ©
Dedalus Foundation, Inc. / Licensed by VAGA, New York, NY. Photo Credit: The Museum of
Modern Art / Licensed by SCALA / Art Resource, NY.
13 Bearden, Romare. Village of Yo, ca. 1964. Collage, 9 x 12 1/4 in. (22.9 x 31.1 cm). Leonard C.
Hanna, Jr., B.A. 1913, Fund. 2000.28.1 Yale University Art Gallery, New Haven, CT. Art
copyright © Romare Bearden Foundation / Licensed by VAGA, New York, NY. Photo copyright
© Yale University Art Gallery / Art Resource, NY.
93
ACKNOWLEDGMENTS (continued)
Page
18 [left] Brancusi, Constantin (1876-1957) © Succession Brancusi - All rights reserved (ARS)
2022. Yellow Bird, 1919. Yellow marble, limestone and oak base. Overall: 221.6cm (87 1/4in.).
Bequest of Katherine S. Dreier. 1952.30.Ia-d. Yale University Art Gallery. Photo Credit: Yale
University Art Gallery / Art Resource, NY.
[center] Brancusi, Constantin (1876-1957) © Succession Brancusi - All rights reserved (ARS)
2022. Bird in Space. 1923. Marble, (with base) H. 56-3/4, Diam. 6-1/2 in. (144.1 x 16.5 cm).
Bequest of Florene M. Schoenborn, 1995 (1996.403.7ab). Location: The Metropolitan Museum
of Art, New York, NY, USA. Photo Credit: Image copyright © The Metropolitan Museum of Art.
Image source: Art Resource, NY.
[right] Brancusi, Constantin (1876-1957) © Succession Brancusi - All rights reserved (ARS)
2022. Bird in Space, 1941. Polished bronze, h. 193.4 cm. Inv. AM4002-106. Photo: Adam
Rzepka. Location: Musee National d'Art Moderne, Centre Georges Pompidou, Paris. Photo
19 Unknown artist. Gourd made in the family of Juan Garcia Veli, Flute Player, Cochas Chico,
Huancayo State, Peru. Courtesy of Jo Miles Schuman. Reprinted with permission.
21 Child artist, untitled. The Web Archive of Children's Art, copyright 2005 by Indiana State
University.
23 Sayre, Henry M. Graphic image of a Rubin vase. From World of Art, A, 5th Edition, © 2008,
p. 97. Reprinted by permission of Pearson Education, Inc., Upper Saddle River, NJ.
26 Unknown Artist. Lascaux Grotto, cave painting with hunting scene. Decorated Grottoes of the
Vézère Valley (UNESCO World Heritage Site, 1979) Lascaux Caves, Perigord, Dordogne,
France. © DeA Picture Library / Art Resource, NY.
27 Unknown Artist. Crush the Gang of Four! Photo by David Kohl. Used with permission.
28 Unknown Artist. Dome of the Rock. Exterior view. Completed in 691 CE. Islamic, Umayyad
Caliphate. Dome of the Rock, Jerusalem, Israel. Photo Credit: SCALA / Art Resource, NY.
Used with permission.
29 Unknown artist. Two Warriors Fighting in a Landscape, from a Persian manuscript, 1396.
Copyright © The British Library Board. All rights reserved 07/01/09. Shelfmark: 1022251.381.
94
Page
30 Mies van der Rohe, Ludwig (1886-1969) © 2022 Artists Rights Society (ARS), New York / VG
Bild-Kunst, Bonn. Tugendhat Coffee Table. Design date: 1930. Stainless steel and plate glass,
overall: 18 x 40 x 40" (45.7 x 101.6 x 101.6 cm) .a (frame): h. 17 1/4 x w. 27 1/4 x d. 27 1/4"
(43.8 x 69.2 x 69.2 cm), .b (glass top): 3/4 x 40 x 40" (1.9 x 101.6 x 101.6 cm). Phyllis B.
Lambert Fund. Location: The Museum of Modern Art, New York, NY, U.S.A. Photo Credit:
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
31 Metsys, Quentin (c. 1466–1530). The Money-lender (Banker) and His Wife, 1514. Louvre, Paris,
France. Photo credit: Erich Lessing / Art Resource, NY.
32 Unknown Artist. Blue-and-white porcelain jars (guan). Yuan dynasty (1279–1368). Jiangxi
province, southern China. Reg. no: AC 1960, 0728.1.b (& Others). This document has been
fused in the document ART332019. Copyright © The Trustees of The British Museum / Art
Resource, NY. Used with permission.
33 [left] Unknown Artist. Dolphin Fresco. Minoan, c. 1450–1400 BCE. Palace of Minos,
Knossos, Crete, Greece. Photo credit: Bridgeman-Giraudon / Art Resource, NY. Used with
permission.
[right] Unknown Artist. Spring from a fresco at Akrotiri, Thera in Crete. National
Archaeological Museum, Athens, Greece. Photo credit: Nimatallah / Art Resource, NY.
34 Unknown Artist. Two Geese, One Swimming, One Diving with Camillia at the Left. 1857.
Polychrome woodblock print; ink and color on paper, 14 x 9 5/8 in. (35.6 x 24.4 cm). Bequest
of Grace M. Pugh, 1985 (JP3705). The Metropolitan Museum of Art, New York, NY, U.S.A.
Image copyright © The Metropolitan Museum of Art. Used with permission.
35 Wright of Derby, Joseph. A Philosopher Giving a Lecture on the Orrery, 1766. Oil on canvas
147.3 x 203.2 cm. Derby Museum and Art Gallery, Derby, Great Britain. Photo credit:
Bridgeman-Giraudon / Art Resource, NY. Used with permission.
36 Bunsei, Japanese, active mid-15th century. Landscape. Museum of Fine Arts, Boston.
Photograph © 2009 Museum of Fine Arts, Boston. Used with permission.
39 Unknown Artist. Retablo - Guitar Vendor, ca. 1990. Alitplano, Ecuador. Painted wood, clay,
18 x 11 x 4 in. Promised gift of Don L. and Rita M. Morgan. Mingei International Museum, San
Diego, CA., U.S.A. Photo Credit: Mingei International Museum / Art Resource, NY.
95
Page
40 Kollwitz, Käthe (1867-1945) © 2022 Artists Rights Society (ARS), New York, self-portrait.
Charcoal drawing. Location: Graphische Sammlung Albertina, Vienna, Austria. Photo Credit:
Erich Lessing / Art Resource, NY.
41 Chagall, Marc (1887-1985) © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris.
Winter; from the series of 42 gouaches to illustrate the book "Daphnis et Chloe" by Longus, bol.
II, pl. 25. 1954-1956. Gouache on paper, 42 x 32 cm. AM1988-398. Photo: Philippe Migeat.
Location: Musee National d'Art Moderne, Centre Georges Pompidou, Paris, France. Photo Credit:
© CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY.
42 Moore, Henry (1898-1986) © The Henry Moore Foundation. All Rights Reserved, DACS 2019 /
www.henry-moore.org. Woman Seated in the Underground, 1941. Gouache, pen and ink, ink
wash, watercolour and crayon on paper, 48.3 x 38.1 cm. Location: Tate Gallery, London, Great
Britain. Photo Credit: © Tate, London / Art Resource, NY.
43 Picasso, Pablo (1881-1973) © 2022 Estate of Pablo Picasso / Artists Rights Society (ARS), New
York. Bust of a Woman: Study for Desmoiselles D'Avignon, France, 1907, oil on canvas, .660m
x .590m. Location: Musee National d'Art Moderne, Centre Georges Pompidou, Paris. Photo
44 Kahlo, Frida (1907-54) / Mexican © 2022 Banco de México Diego Rivera Frida Kahlo Museums
Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. The Two Fridas, 1939 (oil on
canvas). Location: Museo de Arte Moderno, Mexico City, Mexico. Photo credit: Luisa Ricciarini
/ Bridgeman Images.
45 [left] Filleul, Anne-Marie Bocquet. Portrait of Benjamin Franklin. Philadelphia Museum of

Art, Philadelphia, PA., U.S.A. Photo Credit: The Philadelphia Museum of Art / Art Resource,
NY. Used with permission.
[right] Dürer, Albrecht. (1471–1528). A Monkey. Escorial, Madrid, Spain. Photo Credit:
Scala / Art Resource, NY.
46 Gehry, Frank (b. 1929) The Ray and Maria Stata Center at MIT (Massachusetts Institute of
Technology). Completed 2004. Cambridge, MA, USA. Photo copyright © Brent C. Brolin /
Art Resource, NY.
96
Page
47 Unknown Artist. Panel of the Codex Fejervary-Mayer. To the left of the top register is
Yacatecuhtli, Lord Nose, the patron god of merchants. He is carrying the symbol of the cross-
roads with merchants' footprints on them. The merchant on the right carries the characteristic fan
and staff and on his back a cargo of Quetzel birds. Mixtec style, beaten deer skin and limewash.
Liverpool Museum, Liverpool, Great Britain. Photo Credit: Werner Forman / Art Resource, NY.
49 [left] Toulouse-Lautrec, Henri de. Dancer Jane Avri. Poster. Musee Toulouse-Lautrec, Albi,
France. Photo Credit: Erich Lessing / Art Resource, NY. Used with permission.
[right] Chagoya, Enrique. What Appropriation Has Given Me. 1992. Courtesy of the artist and
Gallery Paule Anglim.
50 [top] Unknown. The Norman cavalry rushes into battle, scene from the Bayeux Tapestry, 11th
c. Photo credit: Erich Lessing / Art Resource, NY. Musee de la Tapisserie, Bayeux, France.
[bottom] Unknown. Astrologers signal the appearance of a comet (Halley's Comet), which
portends misfortune for King Harold II. Detail from the Bayeux Tapestry. Photo credit: Erich
Lessing / Art Resource, NY.
51 Brady, Matthew. Union Generals: Wm. Farrar Smith, Wm. Buel Franklin, Samuel Peer
Heintzelman, Andrew Porter, Irvin McDowell, George Brinton McClellan, George Archibald
McCall, Don Carlos Buell, Louis Blenker. Gelatin silver print on paper, 1861. 22.4 cm x
39.5 cm. National Portrait Gallery, Smithsonian Institution, Washington, DC, USA. Photo
Credit: National Portrait Gallery, Smithsonian Institution / Art Resource, NY. Used with
permission.
52 Calder, Alexander (1898-1976) © 2022 Calder Foundation, New York / Artists Rights Society
(ARS), New York. Cat Lamp. 1928. Iron-wire and paper construction, 8 3/4 x 10 1/8 x 3 1/8".
Gift of the artist. Location: The Museum of Modern Art, New York, NY, U.S.A. Photo Credit:
Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.
53 Amman, Jost. Money Fool. From the Staendbuch by Hans Sachs (1568). Woodcut. Photo
Credit: Bildarchiv Preussischer Kulturbesitz / Art Resource, NY. Used with permission.
54 [left] Cassatt, Mary. Maternal Caress. Print Collection, Miriam and Ira D. Wallach Division
of Art, Prints and Photographs. Miriam and Ira D. Wallach Division, The New York Public
Library, New York, NY, USA. Photo Credit: The New York Public Library / Art Resource, NY.
[right] Cassatt, Mary. Mother and Child. Canvas. Musee d'Orsay, Paris, France. Photo Credit:
Erich Lessing / Art Resource, NY. Used with permission.
97
Page
55 Unknown Artist. Eagle Warrior. Aztec Sculpture from the Templo Mayor. Museo del Templo
Mayor, Mexico City, D.F., Mexico. Photo Credit: John Bigelow Taylor / Art Resource, NY.
56 Kokoschka, Oskar (1886-1980) © 2022 Fondation Oskar Kokoschka / Artists Rights Society
(ARS), New York / ProLitteris, Zürich. 1950. Linen. Inv. 11241. Location: Pinakothek der
Moderne, Bayerische Staatsgemaeldesammlungen, M. Photo Credit: bpk Bildagentur /
Pinakothek der Moderne, Bayerische Staatsgemaeldesammlungen / Art Resource, NY.
57 Klocko, Barbara. Photo of Carhenge, copyright © Barbara Klocko. Used with permission.
58 Gober, Robert. Untitled, c. 1998–99. Willow and silver-plated bronze. 19 1/2 x 70 1/2 x
41 1/2 inches (49.5 x 179.1 x 105.4 cm). Solomon R. Guggenheim Museum, New York.
Purchased with funds contributed by the International Director's Council and the Executive
Committee Members, 2000. Accession no. 2000.113. Photograph by David Heald © The
Solomon R. Guggenheim Museum. Artists Rights granted courtesy The Matthew Marks Gallery,
New York.
65 Lawrence, Jacob (1917-2000) © 2022 The Jacob and Gwendolyn Knight Lawrence Foundation,
Seattle / Artists Rights Society (ARS), New York. The migration gained in momentum. 1940-41.
Panel 18 from The Migration Series. Tempera on gesso on composition board, 18 x 12" (45.7 x
30.5 cm). Gift of Mrs. David M. Levy. Location: The Museum of Modern Art, New York, NY,
U.S.A. Photo Credit: Digital Image © The Museum of Modern Art/Licensed by SCALA / Art
Resource, NY.
68 Baule Mblo mask. Baule People. Central Ivory Coast. Wood, brass, h=13". Location: Entwistle
Gallery, London, Great Britain. Photo Credit: Werner Forman / Art Resource, NY.
98

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Massachusetts

Purpose of the Practice Test .............................................................................................................1

Taking the Practice Test ...................................................................................................................1

Incorporating the Practice Test in Your Study Plan .........................................................................1

Visual Art Practice Test....................................................................................................................2

General Test Directions .............................................................................................................3

Multiple-Choice Answer Sheet..................................................................................................4

Multiple-Choice Questions ........................................................................................................5

Directions for the Open-Response Item Assignments .............................................................63

Open-Response Item Assignments and Response Sheets........................................................64

Practice Test Results ......................................................................................................................71

Practice Test Results Overview ...............................................................................................72

Multiple-Choice Question Answer Key Worksheet ................................................................73

Multiple-Choice Question Practice Test Evaluation Chart......................................................76

Open-Response Item Evaluation Information..........................................................................79

Open-Response Item Scoring Rubric, Sample Responses, and Analyses ...............................80

Practice Test Score Calculation ...............................................................................................91

PURPOSE OF THE PRACTICE TEST

TAKING THE PRACTICE TEST

INCORPORATING THE PRACTICE TEST IN YOUR STUDY PLAN

GENERAL TEST DIRECTIONS

Sample Question: 1. What is the capital of Massachusetts?

MULTIPLE-CHOICE ANSWER SHEET

Question Your Question Your Question Your

In this painting, the artist's use of

In this painting, the artist has disrupted space by:

A. covering the subject's shoulder with the background.

B. shading the right side of the subject's face.

C. depicting the subject from mid-thigh up.

D. depicting the subject's eyes looking downward.

Which of the following did the

A. the position of the clouds

B. the rows of soil

C. the slope of the horizon

D. the texture of the ground

A. directing the viewer's attention diagonally across the picture plane.

B. providing a sense of unity to the work as a whole.

C. creating a sense of two separate and distinct environments.

D. giving the work an overall positive mood.

In the photograph above, the photographer

6. Use the reproduction below of a 7. Use the reproduction below of a

Primarily which of the following features

A. the narrow perimeter of the base

B. the negative interior spaces

C. the inclusion of an elongated spout The precise arrangement of circular

In the work above, the artist used the line

This painting emphasizes primarily

A. rough implied texture

C. subtle value contrast

The predominant element of art and

B. star filter C. join unfired pieces of clay.

C. diffusion filter D. prevent the ware from sticking to

14. In gesture drawing, lines are drawn

A. covering it with wax paper B. capturing the subject's essence.

B. shaking off any excess charcoal C. describing a definitive outline.

C. coating it with a fixative D. creating a sense of urgency.

D. placing it in sunlight for two days

B. editing layers individually B. establishing more than one light

D. using changes of hue, rather than

A. wearing gloves 18. In printmaking, an image that is made by

D. wearing a respirator A. serigraph.

A. alabaster A. individuals are encouraged to try

C. sandstone B. standards of quality have been